A Quote by Thomas Ian Nicholas
I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.
Related Quotes
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
I think more of my tennis is more to do with the mental side of things rather than technique or, you know, tactics or anything like that.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
My technique is laughable at times. I have developed a style of my own, I suppose, which creeps around. I don't have to have too much technique for it. I've developed the parts of my technique that are useful to me. I'll never be a very fast guitar player. I don't really know what to say about my style. There's always a melodic intent in there.
I consider myself a 3-D philosopher. I am not a designer at all. I studied aerodynamics, I studied philosophy, I studied sculpture. High technology on one side, and on the other side, art.
You have actors who begin at a certain young age and there's very little change in their technique and the depth of their performances; they're the same 30 years later.
No technique is possible when men are free. Technique requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being.
We are aware of yoga only as a technique to gain physical strength, flexibility, or increased health. And indeed these are potent side effects of the practice. But that is what they are: side effects. To focus on these largely insignificant manifestations is to miss the point entirely.
I have acting technique; I have singing technique; I don't have a writing technique to fall back on.
The consumer game is tougher than pro football and more conniving than chess. One side [industry] invents the rules and the other side [consumers] is left to guess what they are.
You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
Technique is the test of sincerity. If a thing isn't worth getting the technique to say, it is of inferior value.
My focus had always been the on-side. My coach wanted me to work on the offside strokes since he was convinced of my ability and timing on the leg side. I worked hard and firmed up my defensive technique. I am happy getting runs all around the wicket now, and getting a lot of boundaries. No one calls me a 'leggie batsman' anymore.
Focusing totally on technique, you lose the essence and power of simplicity... The other extreme is just as bad; you see it in a lot of Modern works, where the concept is more important than the technique, resulting in very poor craftsmanship.
In Smooth Talk it was a much more intuitive search - I was only 17 at the time, and I wasn't aware, as women are when they get a little older, that there's always a side of a woman that likes a man from the other side of the tracks. We all have an attraction to what's different from us.
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